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Well, the choice is obviously motivated by the context but also is an instinctive choice on the day.
Thanks for the reply! Can you give an example of how context would make you choose wider or tighter? Do you mean context of the story? Or the location?
I am just remembering this scene in The confirmist film. There is wider OTS shots. Can anyone tell more wider ots shots in films.
Not to speak for the DP, of course, but I find that questions like this are just as effectively answered by asking yourself, what effect do those different perspectives have on you, the audience? Do you react differently to each of those shots, and if so, can you pin your reaction down to the framing alone or are you combining input from the frame and the story beat and the performances and the background and etc.?
Authorial intention is dead! Long live the New Criticism! 😉
For me, assuming I’m not restricted by a tight location, I’m mostly influenced by how focused I want the audience to be on the principal actor’s face vs how much I want to emphasize body language and allow enough of the OTS character’s reactions.
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